Hatrack II Text File
Format 1
L 1 
on the beach.
on a wide and sandy golden beach. This has to be THE beach you see in all those holiday brochures depicting people basking in the sun, rubbing the sand between their toes and generally having a great time. This beach, however, is completely deserted. The calm, lapping, blue sea out to the west laps calmly and bluely up the beach, which stretches out to the north and south in a golden sort of way. A rocky ledge running along the beach blocks the route inshore.
L 2 
on the beach.
further along the golden sands. The sea seems calmer and bluer than ever here,and you feel sure that it must be filled with all manner of spectacular marine life. The beach continues north and south, and at the top of the beach there appears to be a small gap in the high rocky ledge which you could follow.
L 3 
on the beach.
at the southern end of the golden sanded beach. To the south the rocky ledge advances down the beach, eventually reaching the sea thus preventing you from going further south.
L 4 
on the beach.
at the northern end of the beach, where the rocky ledge meets the sea in a no-nonsense sort of way. Further round to the north it rises, promoting itself into the `cliff' category. Your excitement wells up when you realise that what appeared to be a trick of the light in the rock face to the northeast is really the entrance to a cave.
L 5 
in the cave.
in a small but dreadfully exciting cave. This is a real storybook seaside cave, complete with dripping roof, nooks and crannies and the sound of crashing waves (which is strange because the sea is, at present, calmer than a pacified priest). And, of course, the cave narrows towards the rear but you have a sneaking suspicion that it will lead somewhere really interesting.
L 6 
on the cliff top.
on the cliff top, standing by the rear entrance to the cave, a small opening in the ground, so overgrown with lush green grass that you would probably have not spotted it if you hadn't come out of it yourself. From here the view over the ocean is panoramic. White horses dance in the distance and the hazy horizon seems dreamlike in its beauty. A dry mud path leads off to the east.
L 7 
on the clifftop path.
at the end of the clifftop path which continues to the west. Again your view out to sea is blocked by dense shrubbery, but below you and to the east, you see a magnificent natural harbour; a miracle of the elements. There is a steep screen slope which you could probably slide down to the harbour.
L 8 
in the natural harbour.
in the natural harbour, which is even more splendid from close up. Natural wearing away of the stone by the elements over a period of millions of years has formed a perfectly regular jetty complete with mooring rings and a boarding ramp. All it needs now is a ship to fill it. The scree slope which you slid down leads up to the west.
L 9 
on the sandy path.
following an east-west path floored with sand and the occasional tuft of harsh wild grass, the sort that really hurts if you stand on it in your bare feet. The path slopes up to the east and down between high rocks to the west.
L 10 
on the path.
following an east-west path which begins to rise more steeply to the east now, and the tree cover becomes more dense. The luxurious toe-massaging sand that floored the path to the west has gradually changed to a rather hard, dry mud.
L 11 
by the ravine.
where the steep mud path ends, at the edge of a gaping north-south ravine. Looking down into the ravine, you quickly get vertigo, so you don't. There is another clearing directly opposite you across the ravine, which is about twenty metres away. Densely leaved low hanging trees block your way along the edge of the ravine, backed by tall canpoy trees whose tops stretch way above.
L 12 
by the ravine.
at the eastern edge of the ravine, which is a mirror image of the west edge with the same dense arrangement of low lying and tall trees surrounding you like a bunch of reporters outside Number Ten Downing Street who've just heard about the Poll Tax. A faint track leads off through a gap in the reporters to the northeast.
L 13 
on the faint track.
following a faint track through dense jungle. The tree canopy cuts out a lot of light so you can't be sure, but the track seems to continue northeast to southwest and there appears to be some sort of a clearing to the northwest.
L 14 
in the clearing.
in what you correctly identified to be clearing, which is roughly circular and about four metres across, and is floored with packed earth. What you see shocks you. Someone must have been here before because some rocks have been arranged in the shape of a large `X' right across the clearing!
L 15 
by the shack.
at the end of the faint track, outside what appears to be a tumbledown shack. Someone must have been here before! There's hope after all. However, having said that, the shack looks like it's been unoccupied for a long, long time. It is little more than a few logs tied loosely with old and rotting reeds with a pathetic excuse for a roof of long rushes, most of which appear to have collapsed inside. What was once a doorway leads inside.
L 16 
inside the shack.
inside the tumbledown shack, which has mustly tumbled down. Few of the supporting walls remain; the whole back wall has been blown away, probably by a fierce storm. There are a few signs that someone once lived here; charred timbers that once made a warm cosy fire and what might have been a rudimentry bed is mostly covered by fallen rushes.
L 17 
at the back of the cave.
at the back of the cave, where it has reduced in size to a low crawl of damp rock, on a steep slope. A short way up, shafts of daylight shine in indicating a way out, and the main cave lies to the southwest.
L 18 
on the clifftop path.
following a dry mud path which runs along the clifftop, a few metres from the edge. Between you and the cliff edge is dense shrubbery which blocks your view out to sea.
M 1 
You cannot move {C.
M 2 
You take {B.
M 3 
You can't take {B.
M 4 
You don't see {B.
M 5 
You drop {B.
M 6 
You aren't carrying {B.
M 7 
You are {E|
M 8 
You are {G|
M 9 
You can move|
M 10 
There are no visible exits.|
M 11 
You see|
M 12 
'YES,NO' Would you like another game?
M 13 
Welcome to `{F', created using the Hatrack II Adventure Generator.\\Press a key to begin.\
M 14 
Nothing happens.
M 15 
Press space to continue.
M 16 
Ok.
M 17 
'YES,NO' Are you sure you want to quit?
M 18 
Hardly surprising with a game as good as this.
M 19 
You cannot do that.
M 20 
{A.|
M 21 
{A and|
M 22 
{A,|
M 23 
{B.|
M 24 
{B and|
M 25 
{B,|
M 26 
Your hands are empty.
M 27 
You are carrying|
M 28 
You are wearing|
M 29 
{C.|
M 30 
{C and|
M 31 
{C,|
M 32 
'YES,NO' Are you sure?
M 33 
You have made {D moves, and have been playing for {H hours, {I minutes and {J seconds.
M 34 
Nothing special.
M 35 
My dictionary isn't that extensive.
M 36 
Have a look {G
M 37 
I haven't a clue.
M 38 
Look around.
M 39 
You put on {B.
M 40 
UNUSED.
M 41 
UNUSED.
M 42 
You examine {B. |
M 43 
Take an inventory!
M 44 
You're already wearing {B.
M 45 
You can't wear {B.
M 46 
You're already carrying {B.
M 47 
Your load is too bulky to take {B.
M 48 
Your load is too heavy to take {B.
M 49 
You remove {B.
M 50 
You'll have to move {C first.
M 51 
The way {C is blocked.
M 52 
You move {C.
M 53 
It is a well-worn blue canvas rucksack which has obviously travelled well. It |
M 54 
A bag with special straps which allow it to be worn on one's back thus leaving one's hands free for other activities such as holding on to vines.
M 55 
It's strong twine, twice half its length.
M 56 
Narrow cord used to bind, fasten or tie.
M 57 
I think you'll find {B already inside the rucksack.
M 58 
You put {B in the rucksack.
M 59 
It is small, white and crumpled.
M 60 
Soft paper used for blowing the nose into.
M 61 
It is about the size of a small hat or a spade head.
M 62 
The home for certain sea creatures.
M 63 
The shell is half-buried in the sand.
M 64 
You dig away the sand around the shell and free it.
M 65 
You put {B on your head. You can't help feeling that this could quite easily become a major fashion accessory.
M 66 
A must for any desert island. You see a coconut dangling precariously way above your head.
M 67 
The palm is a tall species of tree with huge green leaves found on desert islands. They are well known for bearing coconuts.
M 68 
Have you ever tried picking up a ruddy great tree? It's not my idea of fun.
M 69 
Large, round, hairy and very heavy. It has small three holes in it in a triangular shape, making it look rather like a bowling ball.
M 70 
A large nut which grows on palm trees and contains sweet milk. Apes like coconuts.
M 71 
It is crouching in an ape-like way at the edge of the ravine, facing you. It looks just like a living skittle.
M 72 
A not too distant relative of man, but not something you'd invite to dinner.
M 73 
A bad idea if ever I've heard one.
M 74 
It hangs from the tree canopy high above, its lower end tied loosely to a convenient branch to prevent it from swinging away across the ravine.
M 75 
A naturally grown rope which was an invaluable aide to Tarzan.
M 76 
You'll have to untie the vine first.
M 77 
You give the palm tree an almighty shove.
M 78 
A must for all desert islands.
M 79 
The coconut at the top falls and lands on your head but the shell protects you and it bounces off.
M 80 
The coconut at the top falls. Unfortunately, it lands heavily on your head and kills you. Your mother always told you to wear sensible headgear.
M 81 
You try to shin up the palm but the bark is too smooth and you just slip down.
M 82 
A bad move. The ape parries your feeble blow and in the same motion cheerfully lifts you off your feet and hurls you down into the ravine and you plummet to your death.
M 83 
The coconut is very heavy and you can only throw it a measly half metre.
M 84 
The ape stares at you in a `Well, that didn't work, did it?' sort of way.
M 85 
contains |
M 86 
is empty.
M 87 
You remove {B from the rucksack.
M 88 
The rucksack is full.
M 89 
The ape is rather proud of his knot and won't let you untie it.
M 90 
You carefully untie the vine and keep hold of it to stop it from swinging away across the ravine.
M 91 
The knot is particularly devilish and you need both your hands free to untie it.
M 92 
You let go of the vine and it swings out across the ravine.
M 93 
You take careful aim and bowl the coconut directly at the ape. The ape watches the coconut warily as it rumbles towards him and is so busy concentrating on a wary look that he fails to move out of the coconut's path and is bowled right over the edge and down into the ravine.
M 94 
The coconut rumbles a short way along the ground and comes to a halt a short distance away. Your bowling technique leaves a lot to be desired but then if you're aiming at the bulk of, say, an angry-looking ape, then there is room for error.
M 95 
The scree slope is too steep for you to climb; you keep slipping down.
M 96 
There is a ship bobbing up and down in the distance on the ocean! |
M 97 
You tie the vine safely to a convenient branch.
M 98 
You step back, take a run up and leap off the edge of the ravine, clutching the vine tightly. The swing seems to last forever but eventually you alight on the far size, vine still in hand.
M 99 
You need something to swing on, a vine for instance.
M 100 
It is about a metre long with a cross piece attached across one end for use as a handle. The other end once held a spade head.
M 101 
Part of a spade which is pretty useless without a head.
M 102 
It is roughly constructed, using a large shell as a head, but looks sturdy enough.
M 103 
A tool used for digging up treasure.
M 104 
Just your regular piece of flintstone.
M 105 
A type of stone well-known for producing sparks when rubbed with a steel bar.
M 106 
It was probably part of a wrecked ship. It looks nice and dry and has a big rusty nail sticking out of one end.
M 107 
Timber that has, at one period in its life, drifted, hence the name. Also commonly used for lighting signal fires on desert islands.
M 108 
You really ought to take the shell off your head first.
M 109 
What with? Your nasal hair?
M 110 
You tightly bind the shell to the spade shaft with the twine.
M 111 
Could you be a little more specific in your wording?
M 112 
The nail comes free easily.
M 113 
It is good and dry, with an absence of nails in it.
M 114 
It is bent and rusty and certainly couldn't be used as a nail again.
M 115 
A small steel rod with one sharp end and one flattened end, used for holding pieces of timber together. Bent and rusty nails, being no longer useful for this purpose, are often used with flint to start fires.
M 116 
A beautifully constructed chest of finest oak, bound with engraved iron bands. Inside it are more riches than you can possible imagine.
M 117 
A vessel for holding more riches than you can possibly imagine.
M 118 
It is docked in the natural harbour and waits invitingly for you to board.
M 119 
A vessel for carrying people across water.
M 120 
Stop messing about and get on with it.
M 121 
It is the result of setting light to dry driftwood. It'll burn like that for ages.
M 122 
Time passes...
M 123 
You have nothing to make fire with.
M 124 
You can't make fire with flint alone - you need steel too.
M 125 
You rub the rusty nail on the flint and manage to produce some sparks. By an amazing feat which really requires three hands you manage to set light to the tissue.
M 126 
The tissue is burning with a bright orange flame.
M 127 
You dig up the earth under the big `X' and are only moderately surprised to find a small wooden chest.
M 128 
The ground is too hard to dig with your bare hands - you need to use a spade.
M 129 
Hey, man. I don't dig this place and neither should you.
M 130 
You find nothing.
M 131 
The tissue burns out.
M 132 
You'd better put the driftwood down first or you'll burn your fingers.
M 133 
You have no fuel.
M 134 
You can't light the driftwood directly with the flint and nail - it just won't catch light. What you really need is a piece of paper or cotton wool.
M 135 
You toss the tissue on to the driftwood which easily catches fire.
M 136 
It's already burning.
M 137 
Most people would be happy with one fire.
M 138 
The ship pulls in at the jetty like a dream come true. The captain waves with a cheery smile. `Hello there me old sea dog. Want rescuing do we? Always happy to rescue a treasure-bearing castaway. Hop aboard then and we'll be off.'
M 139 
`Well, if you're not coming we'll be off. See you.' With that the ship sails away.
M 140 
The ship obviously got tired of waiting because you see it sail off into the distance.
M 141 
The ship must have seen your signal because it's coming this way at pace!
M 142 
You see the ship disappear into the natural harbour to the east.
M 143 
The ship appears in the mouth of the harbour.
M 144 
The ship is coming towards the jetty.
M 145 
`Come on then, if you're coming,' shouts the ship's captain.
M 146 
The ship seems uninterested in your signal fire.
M 147 
Ouch!
M 148 
`Welcome aboard, wealthy castaway. You've been saved and you've come away with all the loot. Well almost all, anyway. Come into my cabin and we'll discuss my cut...'\\Well done - you've completed Treasure Island. What's the reward? Well, it's knowing that you're as cunning and clever as Cunning an Clever themselves, and nearly as cuning as you would have been if you has witten it yourself.\
M 149 
The captain holds up an arm. `Sorry, as part of the new fair trades act we only rescue treasure-laden castaways, and you don't appear to be carying any treasure.' You are ushered off the ship and it sails away.
M 150 
You'll never attract the ship like that. You need a signal fire.
M 151 
Don't be so vigorous.
M 152 
You jump to your death. Oops.
M 153 
Boing!